Dissertations / Theses on the topic 'Clarinet quartet'

This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requirements, leading to a determination of the level of ensemble needed for successful presentation is also provided, as is an aesthetic evaluation based on the above-mentioned analysis, existing criticism and personal opinion. A history of each composer's life is presented, with emphasis placed on her education and career. The remaining seventeen pieces are presented in the form of an annotated repertoire list. Ten of these works and their composers are discussed in a format similar to the works above, but in less detail. The composers in this category include: Stefania de Kenessey, Ruth Gipps, Elizabeth Gyring, Katherine Hoover, Nicola LeFanu, Helen Lipscomb, Vera Preobrajenska, Louise Talma, Julia Usher, and Joelle Wallach. Music for the remaining seven pieces has not been obtained, but limited historical data for each composer is provided.

Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.

In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed.  From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece.  After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.

Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xii, 151 p.; also includes graphics. Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center

Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.

Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.

The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.

Made available in DSpace on 2016-04-28T20:39:22Z (GMT). No. of bitstreams: 1 PCL - Daniela Della Torre.pdf: 519251 bytes, checksum: 14f1ca2c34c5fb05be06178fff292390 (MD5) Previous issue date: 2006-10-25<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>The work Clarice Lispector: about the loneliness of not belonging to the fourth dimension discusses the major constitutive issues of people s way of being. The dialogue with Clarice Lispector, a well known person, with a special way of being, brings light to this discussion and gives its contribution while presenting its singularity. This study is based on Donald W. Winnicott s psychoanalytical assumptions and especially on Gilberto Safra s id eas about the personal idiom . The story of Clarice, the studies about her, the testimonials she left during her life and the new reading of her works allow us to unveil her personal idiom the mission/issue of belonging/not belonging, her loneliness and silence that appears in her writings. An Artisan s essay tries do reconstruct this career, this way of being. From The loneliness of not belonging to the fourth dimension the personal idiom designs itself in an ontological perspective. In the beginning there is a mission that does not allow a future. But, during her life, it was positioned as an issue and the not belonging and the wish of belonging appear as fundamental aspects. Clarice s loneliness is the center of a secret, of a mystery, behind her thoughts. While the silence, source of my words, becomes her expected presence. The word, fourth dimension, when it appears, touches her hidden face and saves her. Clarice s clarity in face of existence and human condition allow us to discover her humanity, beyond herself. With the word she discovers the destiny of her issues, she builds the bridge between to be and not to be in witch we find singularities of the human being<br>O estudo Clarice Lispector: da solidão de não pertencer à quarta dimensão reflete sobre as principais questões constitutivas o modo de ser das pessoas. O diálogo com Clarice Lispector, pessoa conhecida e com modo especial de ser, ilumina essa reflexão e contribui para apresentar sua singularidade. Este estudo é norteado pelos pressupostos psicanalíticos de Donald W. Winnicott e, principalmente, baseado nas concepções de Gilberto Safra sobre o idioma pessoal. A história de Clarice, os estudos clariceanos, os depoimentos deixados ao longo de sua obra e a releitura dela apontam para o desvelamento de seu idioma pessoal missão/questão, pertencer/não, solidão e silêncio que deságuam na sua palavra. Tentativa de artesão busca reconstruir essa trajetória, esse jeito de ser. Em Da solidão de não pertencer à quarta dimensão o idioma pessoal vai se desenhando dentro de uma perspectiva ontológica. No começo há uma missão, que impede o devir. No entanto, ao longo da existência foi re-posicionada em questão, surge o não pertencer e o anseio de pertencer como elementos constitutivos. A solidão clariceana é o núcleo do segredo, do mistério, do atrás do pensamento. Enquanto o silêncio, fonte de minhas palavras, se faz presença esperada. É a palavra, quarta dimensão, que ao emergir toca sua face oculta e a salva. A lucidez de Clarice diante da existência e da contingência humana revela, para além dela mesma, a humanidade assentada nestes registros. Com a palavra ela encontra o destino de suas questões, ergue a ponte ser-ser na qual se encontram as singularidades do ser gente

This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently.  Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language.  In contrast, two works (<i>Aubade</i> and <i>So Turn Your Heart</i>) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance.  From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.

Inspired by Chinese poems, the overall characteristics of the work reflect the assimilation of several non-Western musical and philosophical influences such as the use of pentatonic scale patterns, the principle of embellishing a single note, and the application of the I-Ching in dealing with active instrumental passages over a long-sustained computer music drone. Traditional Western compositional techniques such as aleatory counterpoint, serialism, and moment form are also employed in the treatment of thematic material, developmental processes and formal design.

Dissertação de Doutoramento em Literatura Comparada<br>O objectivo do trabalho é comparar e aproximar os contos de Virginia Woolf, Katherine Mansfield e Clarice Lispector em que a epifania é utilizada como elemento, de um modo ou de outro, determinante na estrutura da narrativa. Este confronto de textos procura provar, tendo em conta a epifania como conteúdo temático e como técnica formal, que esta é um elemento polarizador das ambiguidades modernistas, do conflito de vozes e da dissonância, concretizadas de formas semelhantes e diferentes nos contos de cada uma das escritoras. Depois de uma breve introdução (capítulo I) que explica os objectivos, os critérios usados e faz um ponto da situação bibliográfica em relação às autoras, o segundo capítulo contextualiza e enquadra a problemática da epifania tendo como ponto de partida o debate sobre a definição e caracterização do conto e o enraízamento da técnica da epifania na complexidade da estética modernista. O terceiro capítulo mostra a evolução do conceito de epifania no seu sentido secular e particularmente no sentido literário, enfatizado a partir das afirmações de James Joyce, que chama a atenção para os seus tipos e para a sua utilização pelo escritor. Recorda-se também as formas de que o conceito se revestiu nos autores que o utilizaram de modo mais significativo. O quarto capítulo contextualiza a epifania biográfica e literariamente na obra de cada escritora, tendo em conta as respectivas influências e a relação de cada uma delas com o acto de escrever. Este constitui uma busca constante num percurso individual e próprio em que o momento epifânico surge como o vislumbre fugaz, o sinal da existência de uma verdade mais abrangente a que se aspira. Assinala também as reacções de cada escritora ao contacto pessoal e/ou com a obra das outras duas. O quinto capítulo estuda os contos seleccionados, partindo dos princípios construtivos que emergem da organização de cada um deles e tendo sempre por centro focal a epifania. O sexto capítulo constitui a teorização conclusiva da análise anterior, procurando-se encontrar um equilíbrio entre o conceito estudado tanto no aspecto de conteúdo temático como no de técnica formal, o método comparativo, os textos já analisados e as características das obras como um todo. Chama-se a atenção para os muitos traços comuns presentes na diversidade de cada conto e cada epifania: a ambiguidade, a indefinição e mesmo a dualidade, o privilegiar de um discurso que reflecte as tensões interiores das personagens, a utilização, sob formas diferentes, do simbolismo, a concentração num fragmento de tempo e de espaço que, a partir do exterior, pode abrir caminhos novos nos universos de cada “eu”.

Joan Tower is one of the most highly regarded and awarded composers practicing today. Her compositional "profile" has been characterized as a balance of serial and organic elements, and has been best expressed in the works in which there were collaborative efforts between her and the performers of her music. These elements of Tower's compositional profile, coupled with her great regard and affinity for the clarinet are apparent in Turning Points for Clarinet and String Quartet. This document contains a synopsis of Tower's compositional career, a discussion of her collaborative methodology, and an analysis of the aforementioned work. These were facilitated through interviews with Tower and two of her foremost interpreters on the clarinet, Laura Flax and David Shifrin; these interviews are included in their entirety as a part of the Appendix to this document.

碩士<br>國立臺南藝術大學<br>音樂表演與創作研究所<br>96<br>Since the popularity of the opera Carmen in the twentieth century, many performer-composers have written arrangements excerpted from its arias for different instruments, which include Pablo de Sarasate’s Carmen Fantasy for violin and piano, François Borne’s Carmen Fantasy for flute and piano, and Richard Stoltzman’s arrangement for clarinet quartet. This paper mainly explores clarinetist Stoltzman’s arrangement from Carmen’s three arias, "Sequidilla", "Flower Song" and "Gypsy Dance", to show his compositional ideas. I analyze musical form and tonality and compare Sarasate’s Carmen Fantasy with Borne’s to illustrate the overall musical structure. The comparison of the different characteristics and playing techniques of violin, flute and clarinet reflect that Stoltzman applies unique ways of clarinet playing in his arrangement. Discussion on the meaning of the original text of the three Carmen arias provides the vocal-style interpretation for clarinetists.

Triptych is a thirty-minute work in three movements for flute, clarinet, baritone saxophone, percussion and live electronics. Rhythmically intricate musical “tessellations” are juxtaposed with long, evolving drones amidst an electronic backdrop of environmental found sound, granular clouds, procedurally generated rhythmic sequences, and simple oscillators. The piece examines conceptions of pattern, pitch and period in the environment, highlighting the musical elements and structures of creatures and machines – the “almost-human” musical beings all around us. Each “panel” of the triptych is designed to work effectively as either a part of the larger work, or as its own, autonomous piece of music. The electronics are designed to maximize performability and improvisatory flexibility in the ensemble. All processing and cueing is coded in Max/MSP. Triptych was commissioned by the Fountain City Ensemble, and will be premiered in March, 2014.<br>text

Hearing Vvices is a four-movement instrumental work for clarinet, violin, cello and piano. The title is a reference to both the formal structure and surface features of the music. Structurally, the piece resembles a rhetorical struggle between two distinct musical personalities: the serious and the light. In each movement and across movements, this juxtaposition is evident through sudden changes in tempo, mood, and musical character. In terms of surface features, the trajectory of the piece is best described as the eventual emergence of melody from a dense web of counterpoint and rhythm where, over the course of the movements, small melodic fragments are presented and quickly swallowed up by the surrounding texture. This changes in the final movement, where three of the four instruments join in a soaring melody over a troubled accompaniment, thus illustrating the apotheosis of the preceding musical struggle.<br>text

Thesis (Ph. D.)--Princeton University, 1985.<br>This essay and the composition "Clarinet Quartet" together constitute the dissertation but are otherwise unrelated. Includes bibliographical references (leaves [123]-139 (vol. 1)) and index.

abstract: Patterns and Soundscapes explores the concept album format, popularized in the late 1960s and into modern times by artists such as the Who, Pink Floyd, and Frank Zappa. Specifically, I sought to adapt this format as a compositional process aimed towards the completion of a large-scale work that can be presented in album format and live performance. Further influenced by the concept album, I sought to create pieces consisting of similar musical techniques, motivic ideas, and harmonic language, so that each piece could be performed on its own or be combined as a multi-movement work. I began writing this work in the spring of 2019, with “Colored Red Currents” for string quartet and “Conspiracy Wall” for two drum sets. After realizing that both pieces had a similar sound and style, I began to consider how they could function within an album format, and how they could also work together to form a large-scale musical work. I then decided that each subsequent piece, in addition to being composed of similar musical ideas, would be written in a manner that allowed for seamless transitions between the end of one and the beginning of another, and would also introduce the instrumentation making up the full ensemble in the last movement. This work begins with the sparkling and rapid string quartet, “Colored Red Currents,” then moves to the energetic and groove based “Conspiracy Wall” for two drum sets, the meditative “Interlude” for solo viola and electronics, and the quick and mechanical “Beat Frequency” for alto saxophone, bass clarinet, and electronics. The work ends with “ALL IN,” where the full ensemble is finally formed, and all of the patterns and soundscapes come together to form a bombastic and wild finale.<br>Dissertation/Thesis<br>Masters Thesis Composition 2020

No abstract available. Accompanies the compositions of Thunderbird : twee bedrywe, Arabia : konsert vir klavier en orkes; Vyf miniature vir klarinet (b-mol) en kitaar; Vyf toonsettings van Afrikaanse liefdesgedigte vir sopraan en strykkwartet, DMus thesis, kept in the music Library, as well as the Special Collection Section of the Merensky Library (level 5).<br>Thesis (D Mus (Komposisie))--University of Pretoria, 2007.<br>Music<br>unrestricted

"Movements -- homage to Joseph Haydn" is commissioned by Dr. Helmut Sohmen, to commemorate the 200th anniversary of the death of Joseph Haydn. It is premiered by the Anton von Webern Orchestra of the Universitat fur Musik und darstellende Kunst Wien in Vienna on 28 November 2009. The Asian premiere is performed on I February 2010, by the orchestra of the Academy of Performance Arts of Hong Kong.<br>During the past two centuries, music has developed from classical to romantic, and to contemporary; orchestra size from thirty musicians to a double or even a triple; from simple harmonic structures to complicated; from tonal to atonal; from sound to silence; from resonance to dissonance and noise (or some people say it in the other way round); and lastly, from Haydn to contemporary composers (including Tang!!). In "Movements -- homage to Joseph Haydn", inspired by Haydn's simplicity, several excerpts are taken from Haydn's works, small as just a tiny fragment or large as an original quotation. It aims to strive for a balance between the shifting of Haydn's style and Tang's, giving a mix of classical and modern flavor. It shows changes from the modern to the classical Haydn, then back to the modern, like a scene of time line. Movements is presented in one continuous movement, with four distinct sections: I. Before "Sunrise"; II. Franz Joseph Haydn; III. After "The Lark"; and IV. Adagio e cantabile.<br>I. Before "Sunrise" begins in a rather slow but ongoing tempo, creating a blurred atmosphere; not really a descriptive scene before a real sunrise. It aims for a feeling of leading-to, moving towards the string quartet "Sunrise" by Haydn. Although nothing from Sunrise has been used, the musical ideas are taken from the works before it. The piccolo leads the start with a series of acute repeated notes, which create the vague sounds of the minor 7th and the major 9th intervals with the repeated pattern in the trumpets and the piano. The figures are then followed by the other main element: the long sustained chords, which are recurred frequently throughout the whole section. The long chords echo in the orchestra, and sustain with inner-movement shifting among different groups of instruments, in varying registers. When the repetitions and the long sustained chords get merging together, the repeated figures gradually become transparent, and transform into a dominant one. Without any pauses, the repetitions naturally turn into the second section and fill into its harmony.<br>II. Franz Joseph Haydn has a quoted passage from Haydn's String Quartet No. 61 "Fifth" in D minor op. 76 no.2, also presented in the solo strings, with accompaniment of the tutti strings and harmonic support from the winds. The second section differs from the misty first; the quotation itself is clear and with varying developments afterwards.<br>III. After "The Lark", a fast section, has a quoted passage from the last movement of Haydn's String Quartet No. 53 in D major "The Lark" op.64 no.5. Short scale figures are used in a simple phrase structure. The changing texture is important so as to maintain the direction and progression of the section. Starting in the woodwind section, each phrase is designed to keep a common factor of spinning up and down, and spiraling among the entire ensemble. Layers with different fragmented materials are added onto the top like a multilayer cake. Together with numerous contrapuntal shifting, where two or three different textural ideas move at the same time, new but related ideas (scale figures) are kept being created. It is like putting hundreds of images of one single object together onto one single screen, with images taken in different angles, different time and different perspectives. Within the screen, uncountable colorful details are kept, with chemical effects.<br>The first theme of the second movement of Haydn's Piano Sonata no.59 in E flat major is collaged with the last section, IV. Adagio e cantabile. Sustained chords are built to proceed alongside the theme, in a way of fading in and out alternatively. The finale aims for a conclusion of the whole piece, bringing Haydn to modernity. Both subjects are like representing two different times from two different spaces, recurring in the same moment and on the same platform.<br>The instrumentation of Movements consists of pair winds (with the exception of an extra bass clarinet and four horns), percussions, piano and strings. In order to pay tribute to Haydn's string quartets, the first and third sections are entitled after two famous quartets: String Quartet No. 63 "Sunrise" in Bb major op.76 no.4 and String Quartet No. 53 in D major "The Lark" op.64 no.5. The strings are sometimes divided into a solo group of quartet versus the tutti strings, implying a string quartet solo with orchestra accompaniment. Adagio e cantabile, the title of the last section, is a tempo marking taken from a slow movement of a Haydn's Piano Sonata no.59 Hob. XVI: 49 in Eb major, where the sonata was also partially used in a 1994 movie "Interview of the Vampire: The Vampire Chronicles" . In general, the tempo structure is simply set in a form of slow-fast-slow, as III. After "The Lark" is a comparatively faster section than the other three. Gestures from Haydn's string quartets are used as reference. For example, simply chords, scale pattern, repeated notes and simple phrase structure, are constructed as the foundation of Movements . These gestures are designed to be presented in varying ways such as variations, augmentation, amplification, and compression.<br>1. Movements: homage to Joseph Haydn, for orchestra -- 2. Falling up, for string quartet and suona -- 3. Distorted indulgence, for clarinet, electric-guitar, cello, contrabass, piano and percussion (all amplified) -- 4. It is what it is! for sheng and chamber orchestra (1 clarinet in Bb, 1 bass clarinet in Bb, 1 soprano saxophone in Bb, 1 alto saxophone in Eb, 1 horn in F, 1 tuba, 1 violin, 1 viola, 1 cello, 1 piano, 1 percussion) -- 5. Chao, for suona and Chinese orchestra -- 6. Dragon-lantern, for 9 suonas and Chinese orchestra -- 7. Clarin and Tim, for Bb clarinet, tenor timpani and concert timpani.<br>Tang, Lok Yin.<br>"(December 2009)"--Abstract.<br>Adviser: Wai Kwong Victor Chan.<br>Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: .<br>Thesis (D.Mus.)--Chinese University of Hong Kong, 2010.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract also in Chinese.

Quartet -- Bagatelle-Kyrie eleison -- Déploration.<br>Wu Ming-yiu.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2002.<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Table of Contents --- p.ii<br>Acknowledgements --- p.iii<br>Compositions<br>Chapter 1. --- Quartet --- p.1<br>Chapter 2. --- Bagatelle - Kyrie eleison --- p.34<br>Chapter 3. --- Deploration --- p.47

The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.<br>The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra.<br>Tang Lok-yin.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.<br>Librettos (1st work) in English ; abstracts in English and Chinese.<br>Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"<br>Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas<br>Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics<br>Chapter Composition 4 --- Playing Game for Orchestra<br>Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra<br>Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra

Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra.<br>Yang Jin Fong.<br>"June 2004."<br>Thesis (D.Mus.)--Chinese University of Hong Kong, 2004.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Mode of access: World Wide Web.<br>Abstracts in English and Chinese.

Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work.<br>Tam, Chin Fai.<br>Thesis (D.Mus.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 391-392).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract also in Chinese; includes in Chinese.